Bozza Caprice Op. 47

Discussion in 'Trumpet Discussion' started by NYCO10, Dec 31, 2011.

  1. NYCO10

    NYCO10 Pianissimo User

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    Feb 20, 2010
    United Kingdom
    Hi guys, im playing this piece for my college auditions which will be in November/December 2012. Have any of you played it? i've had the music for just over a week and am really getting into it... its by no means easy!! Just a few questions:

    1) The piece involves a fair amount of triple tonguing in all registers, i can cleanly triple tongue from below to up to the top of the staff but have never had to go any higher and when i do the clarity is not consistent, some times i can get it perfect some times its just not up to scratch! what do you suggest?!

    2) for those of you that have played the piece, what mute did you use in the muted section? I am preferring a Peter Gane wood at the moment but would like some other opinions as to what the character should be!

    3) In terms of back ground to the piece, do any of you know anymore about Bozza? in terms of why this piece was written, and features the same opening to another one of his caprices? also, do you know any artists that are large on the scope that have played this? itunes and youtube searches havnt led to much!

    Thanks and sorry for such a long post!!

    Happy new year!!

    NYCO10
     
  2. TrumpetMonk

    TrumpetMonk Pianissimo User

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    Jul 22, 2009
    West virginia
    My roommate just played the snot out of this for his jury. We're both freshmen. He couldn't tongue AT all in the upper register. But he fixed by A.) Practicing at least an hour a day on this piece alone, sometimes two on top of the 4-6 hours we normally put in and B.) He suggested keeping the articulation "up front". It helps me too, but I just move my thinking of the "tu" up towards the front. I don't really think about the tongue, just kinda "where" it should be. That may be a confusing answer, but I hope that helps. Another thing that helps my multiple tonguing in the upper register is A BUTT ton of Air. I'm sure some of the pros here can give you better advice but good luck to you anyway!
     
  3. rowuk

    rowuk Moderator Staff Member

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    Bozza was director of the national school of music in Valenciennes, from 1951 until 1975. Caprice No.1 for Trumpet and Piano, Op.47 was written in 1943 during his watch as conductor of the Paris' Opéra-Comique.

    My score (Alphonse Leduc A.L. 20,242) has a dedication to Monsieur E(ugéne) Foveau; Professeur au Conservatoire de Paris. The cover says (Concours du Conservatoire National de Musique de Paris). Foveau (1886–1957) is considered one of the three main founders of the French trumpet school (l'Ecole française de trompette) together with Merri Franquin and Raymond Sabarich (Maurice Andrés teacher).

    It is safe to say that this dude was HOT!


    Biographie | Thierry Caens
    Eugène Foveau | Thierry Caens

    It is also safe to say that choice of mute will have no influence on the success of performing this piece. Just make sure that it is adjusted so that the intonation remains consistent. I used a Tom Crown because that is what I has back then.


    I have the Thomas Stevens recording and think that it pretty "state of the art". It is available on iTunes. He has that crispness in his sound that I believe that this music requires. I have heard a couple of other recordings, but they are way too softly articulated for me. This is NOT a flow study!
     
    Last edited: Jan 2, 2012
  4. Phil986

    Phil986 Forte User

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    Nov 16, 2009
    Near Portland, OR.
    I did not know about the piece, but now I do:-); nice thread, wish there were more like it.

    Happy new year to the OP and to all as well. :play:
     

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